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18. – 22. 4. 2018 Slovenska kinoteka & Kinodvor / Ljubljana Zbiramo filme na 8, s8 in 16 mm trakovih! Domači filmi so bogata zakladnica spominov in pomemben dokument zgodovine našega vsakdanjika. Škoda bi bilo, če bi jih izgubili. V Slovenski kinoteki bomo v evropskem letu kulturne dediščine več pozornosti namenili raziskovanju domačega filma. Kot filmski muzej vas pozivamo, da nam zaupate v hranjenje svoje družinske posnetke in s tem dostop do njih zagotovite tudi prihodnjim generacijam. Tudi vi doma hranite družinske filme?

We are collecting works on 8-mm, S8-mm and 16-mm film! Home movies are a rich treasure chest of memories and an important document about life in a certain time. It would be a shame to lose them. In the European Year of Cultural Heritage, the Slovenian Cinematheque will devote more attention to researching home movies. As a film museum, we invite you to entrust us with the storage of your home movies and thus enable future generations to have access to them. Do you have such films at home?

Oglasite se nam: Slovenska kinoteka, Arhivski oddelek Contact us: Slovenian Cinematheque, Archive Department Metelkova 2a, 1000 Ljubljana I 01 4342535 I [email protected] URNIK / TIMETABLE

SREDA / WEDNESDAY 18. 4. / Slovenska kinoteka 19.30 18.00 Long Weekend Dolgi konec tedna Phase IV Faza IV Colin Eggleston, 1978, 35mm, 96' Saul Bass, 1974, 16mm, 84' 21.30 20.00 Zombi 2 Zombie Flesh Eaters Roar Rjovenje Lucio Fulci, 1979, 35mm, 91' Noel Marshall, 1981, 35mm, 102' 23.30 + predfilm / pre-feature short La Bête Zver The Beast Les Chiens savants Pasje gledališče Walerian Borowczyk, 1975, 35mm, 98' Pathé Frères, 1909, 35mm, 5' + predfilm / pre-feature short Queen Kong ČETRTEK / THURSDAY 19. 4. / Slovenska kinoteka Monica Stambrini, 2016, DCP, 19' 17.30 Maynila sa mga Kuko ng Liwanag NEDELJA / SUNDAY 22. 4. / Kinodvor Manila v krempljih luči 16.00 Manila in the Claws of Light Baahubali: The Beginning Lino Brocka, 1975, DCP, 124' Bahubali: Začetek 20.00 S. S. Rajamouli, 2015, DCP, 137' Vinyan 19.00 Fabrice du Welz, 2008, 35mm, 96' Baahubali 2: The Conclusion + Master Class: Fabrice du Welz Bahubali 2: Zaključek 22.30 S. S. Rajamouli, 2017, DCP, 140' Calvaire Kalvarija The Ordeal Fabrice du Welz, 2004, 35mm, 88' PODNAPISI / SUBTITLES Filmi so predvajani s slovenskimi podnapisi. PETEK / FRIDAY 20. 4. / Kinodvor All films are subtitled or spoken in English. 14.00 – 17.30 Konferenca kultnega filma VSTOPNICE / TICKETS Okužba, poguba in prekletstvo! Kultni film v Posamezne vstopnice: nacionalnem kontekstu 5 € (redna) / 4 € (v predprodaji) V angleščini. Vstop prost. 3D projekciji: Cult Film Conference 5,5 € (redna) / 4,5 € (v predprodaji) Contamination, Ruination and Damnation! Filmski dvojčki: 7 € Cult Cinema and the Nation Fabrice du Welz (Vinyan + Kalvarija), In English. Free admission. Ozploatacija (Ne ravno Hollywood + Dolgi konec tedna), 18.00 Bahubali (Bahubali: Začetek + Bahubali 2: Zaključek) Brawl in Cell Block 99 Filmski dvojček 3D: 8 € Ravs v zaporniškem krilu (Pošast iz črne lagune + Mojster meča) S. Craig Zahler, 2017, DCP, 132' 20.45 Vstopnice za projekcije v Slovenski kinoteki in Kinodvoru so Creature from the Black Lagoon 3D naprodaj pri blagajnah posameznih prizorišč. Pošast iz črne lagune 3D Jack Arnold, 1954, 3D DCP, 79' Single Tickets: 22.30 5 € (Regular) / 4 € (Presale) San shao ye de jian 3D 3D Screenings: Mojster meča 3D 5,5 € (Regular) / 4,5 € (Presale) Sword Master 3D Double Bills: 7 € Derek Yee, 2016, 3D DCP, 108' Fabrice du Welz (Vinyan + Calvaire), + Feature Your Creature Afterparty! Ozploitation (Not Quite Hollywood + Long Weekend) Baahubali (Baahubali: The Beginning + Baahubali 2: SOBOTA / SATURDAY 21. 4. / Slovenska kinoteka The Conclusion) 17.00 Double Bill 3D: 8 € Not Quite Hollywood: The Wild, Untold Story (Creature from the Black Lagoon + Sword Master) of Ozploitation! Ne ravno Hollywood: Divja in zamolčana zgodba Tickets for screenings at Kinodvor and Slovenska kinoteka o ozploataciji! are available at the respective box offices. Mark Hartley, 2008, 35mm, 103' PREDPRODAJA / PRESALE: 3. – 17. APRIL! UVODNIK

Kurja polt 5: Ko narava podivja

Festival žanrskega filma Kurja polt praznuje in prikazuje – pogosto prvič na domačem platnu in v izvornem formatu filmskega traku – tisto čudovito bizarno, drzno in divje polje filmske ekspresije, etike in estetike, ki nosi oznake kultni, eksploatacijski, off mainstream, B film, camp. Nekateri med njimi so filmske sirote in pankrti brez pedigreja, drugi so zamolčani, spregledani, celo prepovedani filmi velikih auteurjev, spet tretji so čistokrvne žanrske klasike. Vsi skupaj pa tvorijo filmsko subkulturo, ki ima svoj credo, svoj videz, svoj kult privržencev in svoje večno mesto na kanonski margini, od koder kriči zoper konvencionalnost in konformizem množične kulture, zoper družbeni, politični in filmski status quo.

Letošnja tematska retrospektiva Ko narava podivja subverzivnem, pogosto ikonoklastičnem duhu jemlje v razmislek bogato in razgibano zakladnico filmov in avtorjev, kakršnim je festival Kurja polt žanrskih filmov, ki jo zaobjema sintagma »nature gone posvečen, odkrivamo vidike »podivjane narave« na wild« (tudi »nature run amok«, »nature’s revenge«, manj pričakovanih in nenavadnih krajih, a kot vselej »animals attack« in tako dalje). V prvi vrsti sem sodijo v čistokrvnih kultnih klasikah in po krivem prezrtih filmi o »naravnih pošastih« (creature feature), pa biserih filmske preteklosti. Eden slednjih je nedvomno ekološke grozljivke, srhljivke in znanstvena fantastika. Dolgi konec tedna (Long Weekend, 1978) – nukleus Prvo eksplozijo creature featurejev je v 50. letih sprožil in navdih letošnje retrospektive ter vrhunski primerek in podžigal strah pred posledicami jedrskih poskusov. avstralskega žanrskega booma 70. let, čudovito Pogosto orjaška ali radioaktivna, vselej zlovešča in podivjane »ozploatacije«. Posvetili ji bomo poseben morilska narava je tu pojmovana kot grožnja človeštvu. fokus in projekcijo pospremili še s slastno ponorelim Četudi je človek vzrok njene anomaličnosti, sta filmska dokumentarcem Ne ravno Hollywood: Divja in zgodba in gledalec na njegovi strani. V teku 60. let zamolčana zgodba o ozploataciji! (Not Quite se dvom in zaskrbljenost spričo nebrzdanega napredka Hollywood: The Wild, Untold Story of Ozploitation!, znanosti še zaostrujeta, hkrati se krepi in organizira 2008). Za brezčasno klasiko bo poskrbel sinonim creature okoljevarstvena zavest in tako smo v 70. priča še feature filma Pošast iz črne lagune (Creature from the drugemu, a zdaj bistveno drugačnemu valu eko-terorja. Black Lagoon, 1954), ki se vrača na platno v izvornem Filmi postajajo bolj naturalistični in bolj odločno 3D formatu! S slovitim oblikovalcem Hitchcockovih simpatizirajo z naravo. Njena bitja so sicer še vedno špic, Saulom Bassom, in pravo kurioziteto iz zakladnice preteča, toda človek si kazen več kot zasluži. In tega se obskurnih filmskih kultov, filmom Faza IV (Phase IV, tudi dodobra zaveda. Njegov občutek krivde se zajeda 1974), bomo orali ledino eksperimentalne znanstvene v vse pore živalskega kraljestva. Paranoično domišljijo fantastike. Nato bomo Hitchcocku, ki je motiv creature featurejev buri vsa, resnična in mitološka, flora in podivjane narave prenesel v mainstream in kanonsko favna; žuželke in pajki, dvoživke in črvi, ptiči in netopirji, kinematografijo, pomežiknili še enkrat. A namesto da divje mačke, psi in medvedi, morski psi, orke in lignji, bi se s Tippi Hedren otepali morilskih ptičev, se bomo kače in krokodili, mesojede rastline, bakterije in virusi, pa s Tippi Hedren in Rjovenjem (Roar, 1981), »najbolj prazgodovinske in fiktivne pošasti (Godzila, King Kong, nevarnim filmom vseh časov«, raje podali v levji brlog. volkodlak, jeti) in nazadnje še vsi njihovi križanci, živalski Za veliki finale sta tu še velikana evropskega žanrskega in antropomorfni. podzemlja, Lucio Fulci in Walerian Borowczyk. Fulcijeva ultrakultna zombijada in mejnik splatter filma Toda namen pričujoče retrospektive ni sistematični Zombi 2 (1979) nam bo v enem najbolj neverjetnih pregled ali golo nizanje tipskih primerkov. V svobodnem, prizorov žanrskega panteona zagotovil obveznega morskega psa in, kajpak, figuro zombija – vse od muzikal, se vrača na platno v vsem svojem blišču – Romera največjo naravno katastrofo in utelešenje kot maratonski dvojček Bahubali: Začetek človeškega kvarnega vpliva par excellence. Letošnja (Baahubali: The Beginning, 2015) in Bahubali 2: polnočna ekstravaganca pa se poklanja razuzdanim Zaključek (Baahubali 2: The Conclusion, 2017). križancem erosa in tanatosa, tako imenovani filmski Za okrepčilo bo poskrbljeno. »horrotiki«: njenemu ultimativnemu remekdelu, filmu Zver (La Bête, 1975) Waleriana Borowczyka, in njeni Globalne razsežnosti bo letos privzela tudi strokovna sodobni, ženski različici, kratkometražcu Queen Kong Konferenca kultnega filma, ki jo že drugo leto (2016) Monice Stambrini. zapored pripravljamo v sodelovanju z Univerzo Northumbria iz angleškega Newcastla, kjer je na delu Častni gost letošnje edicije in avtor v fokusu sekcije pravi možganski trust kultnega in žanrskega filma. Poleg poklon bo belgijski režiser Fabrice du Welz. Strastni starih festivalskih znancev, dr. Steva Jonesa in dr. Russa cinefil in rojeni filmar. Eden najbolj izvirnih in Hunterja z Univerze Northumbria, bo tokrat z nami suverenih avtorskih glasov sodobnega žanrskega filma vrhovna avtoriteta na področju študij kultnega filma, ter ključnih predstavnikov neformalnega filmskega prof. Ernest Mathijs z Univerze Britanske Kolumbije v gibanja, ki se ga je na začetku tisočletja prijela oznaka kanadskem Vancouvru, s še bolj daljnega Melbourna in »novi francoski ekstremizem« (pa naj se je ti filmarji Univerze RMIT pa bo pripotovala dr. Alexia Kannas in s še tako otepajo). Leta 2015 smo na festivalu predvajali predavanjem o vlogi odročnega avstralskega podeželja du Welzov tretji celovečerec Aleluja (Alléluia, 2014), (»outback«) v avtohtonem žanrskem filmu zaokrožila zato se tokrat vračamo k počelom. Ob zgodnjih delih naš ozploatacijski fokus. Vinyan (2008) in Kalvarija (Calvaire, 2004) na 35-milimetrskem traku bo avtor predstavil svoj carte Ne bodite hišne miške. Pridružite se kurjepoltni karavani blanche izbor, mojstrovino svetovnega filma Manila in prebudite svojo spečo pošast! v krempljih luči (Maynila sa mga Kuko ng Liwanag, 1975) v režiji velikana filipinske kinematografije Lina Brocke. Maša Peče in Festival Kurja polt

Geografsko razgibana sodobna sekcija bo na videz bombastična, a v duhu sila nostalgična. Najnovejši film festivalskega ljubljenca S. Craiga Zahlerja, Ravs v zaporniškem krilu (Brawl in Cell Block 99, 2017), je avtentična vrnitev k šundu in grindhousu 70. let, spotoma pa nam podari še Dona Johnsona, kot smo si ga (neza)vedno želeli. Mojster meča 3D (San shao ye de jian 3D, 2016) v režiji in produkciji hongkonških legend Dereka Yeeja in Harka Tsuija premore vso ezoterično romantiko in humorno samoironijo šaolinskih wuxia klasik iz zlate dobe Shaw Brothers produkcije. Toda tokrat v ponorelo inovativni, steroidni formi hongkonške 3D tehnologije. In za konec še dvojna doza našega najljubšega junaka. Sublimno utelešenje filmske zabave, v en dih junaški ep, ljubezenska zgodba, vojni spektakel in tollywoodski INTRO

Kurja Polt 5: Nature Gone Wild

Kurja Polt Festival celebrates and screens those wonderfully bizarre, daring and wild works of cinema that proudly wave the banners of cult, genre, off mainstream, exploitation, B movie, camp, paracinema and the likes. Some are full-fledged genre classics, others are film orphans and bastards without a pedigree, still others the suppressed, overlooked and unjustly forgotten films by the great auteurs. Together, they form a cinematic subculture with its own creed, style, membership and its eternal place on the margins of canon, from where they rage against the conventionality and conformism of mass culture, against the social, political and cinematic status quo.

This year’s thematic retrospective takes as its point of Yet the purpose of our retrospective is not a systematic departure the abundant and diverse lineage of genre survey of the usual suspects. In keeping with the free films encapsulated by the phrase Nature Gone Wild and iconoclastic spirit of the films and filmmakers that (also Nature Run Amok, Nature’s Revenge and Animals Kurja Polt champions, we have taken a broader and more Attack films). These usually include the creature skewed approach, searching for signs of nature gone features and the eco-horror and sci-fi films, which wild in varied and sometimes unusual places. Firstly, in first came to prominence in the 1950s, fuelled by the the Australian outback. The slow burning eco-thriller fears and anxieties surrounding the effects of nuclear Long Weekend (1978) is not only one of the finest testing and radiation. Here nature’s creatures, blown examples of Australian exploitation cinema of the 1970s, to gargantuan proportions and often radioactive, but also the germ and nexus of our retrospective as such. were perceived as an ominous, murderous threat So it seems only fitting to give Ozploitation a special to humanity. Even if human activity was the cause focus and shed light on the phenomenon with Mark of these aberrations, the narratives’ and spectators’ Hartley’s documentary Not Quite Hollywood: sympathies lay with mankind. Growing concerns The Wild, Untold Story of Ozploitation! (2008) – with the unbridled progress of science and our newly a bewildering journey through an unjustly forgotten awakened environmental consciousness brought cinematic era unashamedly packed full of pubes, boobs, about a second wave of cinematic eco-terror in the tubes... and kung fu. The iconic Gill Man and his thrilling 1970s. This time round, however, the films became underwater adventure Creature from the Black more naturalistic and their sympathies increasingly Lagoon (1954) – presented in 3D! – will provide a shifted towards nature. Her creatures remained deadly, true creature-feature classic. The haunting and stylized but man now fully deserved their rage. And, boy, did experimental sci-fi Phase IV (1974), the sole directorial he know it! His sense of quilt permeated all pores of feature by acclaimed graphic designer Saul Bass, will the animal kingdom. All flora and fauna, factual or add the indispensable ants. And a nod to Hitchcock who fantastical, fuelled the paranoid imagination of creature famously brought the nature gone wild premise into the features. From bugs and spiders, to amphibians and mainstream and the cinematic cannon. So we shall give worms, birds and bats, wild cats, boars, dogs and him another nod. But rather than having Tippi Hedren bears, sharks and killer whales, squids and piranhas, battle it out with his feathered menace, we shall enter snakes and crocodiles, carnivorous plants, bacteria the lions’ den with Roar (1981), »the most dangerous and viruses, and let’s not forget the prehistoric and movie ever made«. Representing the European cult the mythological monsters (Godzilla, King Kong, cinema underground, we have its heavyweights, Lucio Bigfoot and Werewolf) along with all their bountiful Fulci and Walerian Borowczyk. Killing two birds with crossbreeds. one stone, master Fulci’s seminal gorefest Zombi 2

(1979) gives us the shark and the requisite zombie – Also returning for a second (but not final!) instalment the greatest of all natural disasters and the epitome is the Cult Film Conference, presented in cooperation of man’s mistreatment of nature, ever since Romero. with Northumbria University of Newcastle, UK, where a While our midnight movie extravaganza bows to true brain trust of cult and genre cinema is at work. And horrotica, the bawdy mixture of Eros and Thanatos, in this year, the conference has gone global! Along with our the form of its undisputed pinnacle, Borowczyk’s The distinguished friends, Dr Russ Hunter and Dr Steve Jones Beast (La Bête, 1975), and its modern-day, female from Northumbria University, we shall proudly welcome rendition, Monica Stambrini’s short film Queen Kong the most pre-eminent of cult scholars, the Belgian-borne (2016). Canadian-based Prof. Ernest Mathijs, author of several seminal books on cult cinema and professor at the Our homage this year goes to the Belgian director University of British Columbia in Vancouver. And joining Fabrice du Welz, a fervent cinephile, a natural born us all the way from RMIT University in Melbourne, filmmaker and a true genre auteur. Setting out as the Dr Alexia Kannas will round off our Ozploitation focus Belgian exponent of the New French Extremity, du by exploring the role of the landscape (the outback) in Welz’s films have increasingly defied categorization Australian horror cinema. affirming their maker as one of the most deft and original voices in contemporary genre cinema and So wriggle on out of the kangaroo pouch and come beyond. Having showcased his stunning Méliès feature your creature at Kurja Polt 2018! D’Or winner Alléluia (2014) back in 2015, we now return to the beginning. Along with his early features Calvaire (2004) and Vinyan (2008), screened on Maša Peče and Kurja Polt Festival 35mm, our honorary guest will present his carte blanche choice Manila in the Claws of Light (Maynila sa mga Kuko ng Liwanag, 1975), a bona fide classic of world cinema directed by the Filipino master Lino Brocka.

The contemporary section will be bursting with visual baroque yet brimming with nostalgia. Festival favourite S. Craig Zahler’s second feature Brawl in Cell Block 99 (2017) is an authentic return to the gritty grindhouse and the ultraviolent pulp of the 1970s. Hong Kong legends Derek Yee and Tsui Hark join forces for an epic reimagining of a Shaw Brothers classic in Sword Master 3D (San shao ye de jian 3D, 2016), taking us back to the golden age of wuxia, steeped in all its ethereal romance and whimsical self-irony, but retold in mind-blowing 3D. And finally, here is the true return of the king. Our favourite hero, Indian muscleman and demigod Baahubali is back for a marathon double dose of the most sublime incarnation of film entertainment: Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017). SODOBNI / CONTEMPORARY San shao ye de jian 3D Mojster meča 3D Sword Master 3D

Derek Yee, Hongkong, Kitajska / Hong Kong, China, 2016, 3D DCP, 1.85, barvni / colour, 108'

Tretji mojster slovi kot najboljši mečevalec v deželi. Ker pa se Third Master, the most powerful swordsman of the land, je naveličal prelivanja krvi, zaigra lastno smrt in se naseli v has grown tired of the bloodshed. Spreading rumours of lokalni bordel. Tudi Yan sila spretno vihti meč, zato ga pogosto his own death, he retires to a brothel. Often mistaken for zamenjajo za Tretjega mojstra, on pa sanja le o tem, da bi se Third Master, Yan’s only wish is to fight a duel against his z vzornikom pomeril v dvoboju. Mojstrova zaročenka, ki jo je idol. Meanwhile, Third Master’s former fiancée Chiu-ti is zapustil pred oltarjem, medtem snuje sladko maščevanje. determined to have her revenge. Hongkonški legendi Derek Yee in Hark Tsui nas s klasično Hong Kong legends Derek Yee and Tsui Hark join forces fabulo o časti in maščevanju, polno nihilističnih antijunakov, for an epic reimagining of a Shaw Brothers classic Death bojevniških princes in brhkih kurtizan, vračata naravnost Duel which launched Yee’s acting career in 1977. A return v zlato dobo wuxia žanra in izstrelita v daljno prihodnost to the golden age of the martial arts genre, steeped in all ponorelo inovativne 3D tehnologije. its ethereal romance and whimsical self-irony, but retold in mind-blowing 3D format. »Mojster meča je strastno ljubezensko pismo najbolj kvintesenčnemu žanru kitajske kinematografije, a tudi drzno »Stuffed with demon warriors, vamping concubines and potiskanje mej njegovega vizualnega jezika.« overblown acrobatics /…/ this nostalgic nod to the – James Marsh, Screen Anarchy Chinese magic-and-martial arts genre known as wuxia mixes love story and clan war with equal amounts of Feature Your Creature Afterparty! silliness and heart. /…/ It’s Chiu-ti, however, who carries Poživalite se z nami na petkovem balu in prebudite svojo the weight of the movie’s Shakespearean emotions. ‘Your spečo pošast. Dress code: Ko narava podivja. Po 3D dvojčku eyes are like misty rain,’ an admirer tells her, ‘hazy with Pošast iz črne lagune + Mojster meča se obeta grief.’ He should be paying more attention to that snake tekmovanje! crawling from her bosom.« Let you Manimal or She-beast loose at the Friday night – Jeannette Catsoulis, The New York Times festival shindig. Dress code: Nature Gone Wild. SODOBNI / CONTEMPORARY Brawl in Cell Block 99 Ravs v zaporniškem krilu

S. Craig Zahler, ZDA / USA, 2017, DCP, 2.35, barvni / colour, 132'

Ko se bivši boksar Bradley Thomas kot vsako jutro zglasi na Bradley Thomas, a former boxer-turned-mechanic-turned- delu v mehanični delavnici, izve, da je izgubil službo. Po sili drug runner lands in a prison battleground after a deal goes razmer postane kurir mamilaške združbe in po spodleteli deadly wrong. In order to protect those he loves, he has kupčiji kmalu pristane v zaporu. Da bi ohranil pri življenju to carry out a suicidal task under the watchful eye of the svojo družino, mora pod budnim očesom sadističnega sadistic Warden Tuggs. upravnika izpeljati samomorilsko misijo. One word: epic. Bone Tomahawk came out of nowhere Bojna sekira je udarila kot strela z jasnega in bila je and was great, but master Zahler is upping the ante to sijajna, toda mojster Zahler tokrat do konca pohodi plin. unprecedented heights of badass awesomeness. Has to be Ravs v zaporniškem krilu je pristna vrnitev k seen to be believed. Bonus tracks: Udo Kier! Don Johnson! ultranasilnemu šundu in grindhousu 70. let. Z eno besedo: How about raging bull Vince Vaughn beating his car to a epsko. Z nekaj več besedami: Udo Kier! Don Johnson! Pa pulp with his bare fists? Yes, please! Encore! besneči bik Vince Vaughn, ki z golimi pestmi premlati svoj avto? Ja, prosim! Še! »If it seemed like Vince Vaughn was merely dipping a toe into a dark, tormented career phase with his recent True »Eden redkih filmov, ki resnično utripa v grindhouse duhu Detective stint, this pulpy prison thriller suggests he’s 70. let. To pa zato, ker vse, kar počne, misli resno.« now ready to fully embrace his go-for-baroque batshit – Owen Gleiberman, Variety side. /…/ Anyone who’s seen director S. Craig Zahler’s bloody-as-hell Western Bone Tomahawk knows this »Vsak, ki je videl Zahlerjev peklensko krvav vestern Bojna guy has B-movie chops – and there’s every indication sekira, dobro ve, da tip obvlada B-film. In vse kaže, da nam that neither the filmmaker nor his star are keeping the tako režiser kot igralec tokrat ne bosta prizanesla z ničemer.« kid gloves on here.« – David Fear, Rolling Stone – David Fear, Rolling Stone

»Vince Vaughn je besneči ognjenik uničenja.« »Brawl in Cell Block 99 is a midnight movie to relish.« – Xan Brooks, The Guardian – John Bleasdale, CineVue SODOBNI / CONTEMPORARY Baahubali: The Beginning Bahubali: Začetek

S. S. Rajamouli, Indija / India, 2015, DCP, 2.35, barvni / colour, 137'

V starodavnem indijskem kraljestvu ženska v obupanem In an ancient Indian kingdom, a woman pursued by soldiers begu pred vojaki žrtvuje življenje, da bi rešila otroka. sacrifices herself to save a child. Raised in a remote tribal Najdejo ga dobrohotni vaščani, ga vzamejo medse in village, the boy Shivudu grows up a carefree young man, poimenujejo Shivudu. Ko odraste v krepkega moža, se poda relentlessly pursuing his heart’s desire. This leads him on an na epsko popotovanje, da bi odkril svoje korenine, izpolnil epic journey on which he will find love, uncover his roots and svojo usodo in postal mož z mogočnimi rokami, Bahubali. fulfil his true destiny. Teluška filmska industrija in nebrzdana domišljija Telugu cinema and the boundless imagination of S. S. Rajamoulija predstavljata najdražji indijski film S. S. Rajamouli present India’s most expensive film doslej, v en dih junaški ep, ljubezensko zgodbo, vojni production to date. Baahubali is a feast for the eyes, a spektakel in tollywoodski muzikal Bahubali: Začetek. heroic epic, war spectacle, love story and tollywood musical all rolled into one. »Hočete videti moža, ki se golih rok spopade z bikom? Dobite. Ljubimca, ki na odkrušeni skali drvita pred plazom? »You want to see a man wrestling a bull with his bare hands? Odkljukano. Junaka, ki s svojim mečem odbije 10.000 You got it. Two lovers fleeing an avalanche on a rock? Check. puščic? Zakaj pa ne. /…/ Rajamoulijeva mojstrska A hero swatting 10,000 arrows using his sword alone? Why koreografija teh elementov razoroži vsakršen cinizem, not. /…/ Wide-eyed and wondrous, Rajamouli’s film could ki ste ga morda prinesli s seboj v dvorano.« be a blockbuster reboot, or the first blockbuster ever made, – Mike McCahill, The Guardian a reinvigoration of archetypes that is always entertaining, and often thrilling, to behold.« – Mike McCahill, The Guardian SODOBNI / CONTEMPORARY Baahubali 2: The Conclusion Bahubali 2: Zaključek

S. S. Rajamouli, Indija / India, 2017, DCP, 2.35, barvni / colour, 140'

Ko Bahubali spozna resnico o svojem pravem poreklu, Having uncovered the truth of his legacy, Baahubali maščuje umor svojega očeta in zapriseže maščevanje še avenges the murder of his father, vowing revenge against tiranskemu vladarju kraljestva Mahišmati, lakomnemu in the tyrannical ruler of the Mahishmati Kingdom, his uncle spletkarskemu stricu Balaladevu. Bhallaladeva. Močan kot bik, dober kot kruh in večji kot življenje samo. Our favourite hero returns! Fearless warrior, devoted son Naš najljubši junak se vrača na platno v vsem svojem blišču, and irresistible charmer, Baahu’s back to reclaim his throne v maratonski dvojni dozi najbolj popolnega spoja telesnosti and bring justice to his people. Gear up for a marathon in poetike ter najbolj sublimnega utelešenja filmske zabave. double dose of the most sublime incarnation of film Naj se razlega: Baahubaliiii! entertainment: Baahubaliiiii!

»Bahujeva skoraj stripovska moč dovoljuje filmu, da se »This production’s triumph is the room it’s granted prepusti brezdanji domišljiji: ta hip naš dečko brezskrbno Rajamouli to head into the fields and dream up endlessly jadra na ognjenih volih, že naslednji trenutek se s pomočjo expressive ways to frame bodies in motion. Of the many kokosove palme pretvori v človeško topovsko kroglo. /…/ sequences here primed to cut through jadedness, perhaps Resnično zmagoslavje tega filma je v tem, da Rajamouliju the most wondrous is that which finds Baahu guiding Deva podari vso svobodo za izmišljanje neskončno ekspresivnih mid-battle to shoot three arrows simultaneously – načinov filmskega upodabljanja teles v gibanju.« a set piece that speaks both to a love of action, and love – Mike McCahill, The Guardian in action. The budget’s big, the muscle considerable, but they’re nothing compared with Baahubali’s heart.« »Poglejte ga, prvi sijajen poletni film: triurna akcijska – Mike McCahill, The Guardian pustolovščina o junaškem vladarju, ob katerem Konan Barbar izpade kot mevža.« »Behold, the first great summer film: a three-hour action- – Simon Abrams, www.rogerebert.com adventure about a leader whose heroic deeds make Conan the Barbarian look like a wimp.« – Simon Abrams, www.rogerebert.com POKLON / HOMAGE Poklon: Homage: Fabrice du Welz Fabrice du Welz

Belgijski režiser in kleni cinefil Fabrice du Welz je eden His feature-length debut Calvaire (2004), presented tistih dragocenih avtorjev, ki filmski jezik govorijo at the International Critics’ Week in Cannes, announced intuitivno, kot materinega. A hkrati pripada tudi drzni in the Belgian director and screenwriter Fabrice du Welz as pogosto nerazumljeni tradiciji filmarjev, ki razmišljajo in one of the most deft and original voices in contemporary ustvarjajo v mejnih sferah. Njegova dela se gibljejo med genre cinema. While his second film, a phantasmagorical žanrom in arthouse filmom, med brutalnim realizmom journey into the jungles of Thailand Vinyan (2008) in fantazmagorično fikcijo, med avtohtonim pridihom already crossed over into that marvellous, complex in svetovljanskim duhom. So filmi brutalne, surove domain of arthouse and genre hybrids that stubbornly telesnosti in hkrati izjemne formalne poetike, radikalnih, defy categorization – their mark of originality inevitably a sofisticiranih filmskih govoric. Kot vse liminalno tudi ti dividing critics and audiences alike. Du Welz’s blend of »artsploatacijski« križanci pogosto burijo in razdvajajo »artsploitation« reached its apotheosis in the stunning, občinstva in kritike. Zaznamuje jih nekakšna ambivalenca, 16mm-shot Alléluia (2014), a masterly mixture of a prav v tej se skriva njihova vrlina: dostojen odraz psychological drama and very earthly horror, which won protislovnega sveta in (samo)refleksije. Avtor bo na the European Fantastic Film Festivals Federation’s Méliès festivalu Kurja polt predstavil svoja prva celovečerca, D’Or for Best Film of 2014. In the same year du Welz na videz klasični survival horror iz belgijskega zakotja completed another feature, the French policier Colt 45. Kalvarijo (Calvaire, 2004) in fantazmagorični ekskurz A contemporary riff on Blaxploitation Message from v globoko tajsko džunglo Vinyan (2008). Povabili smo the King (2016), starring Chadwick Boseman, was his ga, naj izbere še enega svojih navdihov, in hipoma je first foray into American production. We are happy to see dahnil Manila v krempljih luči (Maynila sa mga Kuko him return to home turf this upcoming summer to explore ng Liwanag, 1975) Lina Brocke. Mojstrovina svetovnega the boundaries of a maddening, destructive love once filma in filipinske kinematografije pa je mahoma pojasnila again with Adoration, the third and final chapter of his du Welzovo lastno ustvarjalno genezo in domet njegove Ardennes Trilogy, preceded by Calvaire and Alléluia. ljubezni do filma. Screenings will be accompanied by introductions and Q&As Projekcije filmov bodo pospremili pogovori z avtorjem. with Fabrice du Welz. POKLON / HOMAGE Homage: Maynila sa mga Kuko ng Liwanag Fabrice du Welz Manila v krempljih luči Manila in the Claws of Light

Lino Brocka, Filipini / Philippines, 1975, DCP, 1.85, barvni, čb / colour, bw, 124'

Preprost mladenič s filipinskega podeželja se na sledi svojemu Julio, an innocent provincial youth, travels to Manila izginulemu dekletu znajde v prestolnici. Ligayo so z lažnimi in search of his childhood sweetheart Ligaya, who was obljubami zvabili iz ribiške vasice in jo prisilili v prostitucijo. lured from her village home and sold into prostitution. V nevarni, brezdušni metropoli se začne Julio potikati od Immediately robbed of what little cash he has, Julio enega do drugega začasnega dela. scrabbles to survive while navigating the threatening, Mojstrovina filipinske kinematografije in svetovnega filma soulless city. je hkrati surovo naturalistična in srhljivo sanjska mešanica One of the pinnacles of Filipino cinema, Lino Brocka’s melodrame, neorealizma in filma noir. Brutalen portret starkly naturalistic yet eerily dreamlike mixture of izgubljene nedolžnosti v krempljih maligne in brezbrižne melodrama, neorelism and film noir, is a shattering portrait urbane džungle. of innocence lost in the grip of a corrupt, exploitative and indifferent urban jungle. A world cinema masterpiece. »Filmar iz tretjega sveta mora, pod imperativom takojšnjega profita (ki je v filmu strožji kot kjerkoli drugje) in grožnjo »Brocka is not a solitary hero, he is a public figure; though brutalnega spopada z oblastjo, neizbežno iznajti lastno, marginal, exposed, and slandered, he is protected by his povsem novo filmsko govorico. To so režiserji, ki nas globoko fame abroad. He has some key traits in common with zaznamujejo. Satyajit Ray v 50. letih, Ousmane Sembène v 60., Pasolini: a respect for ‘lower’ culture, a feeling for the Lino Brocka na koncu 60. ter ponovno Lino Brocka na koncu beauty of the body, a willingness to dissect the social 70. let in danes.« links that the bodies represent. Brocka loves flinging his – Serge Daney, 1981 characters into the traps of mise en scène, he never turns away when they are overwhelmed by emotion, and once Restored in 2013 by the World Cinema Foundation and the they are cornered, neither can we.« Film Development Council of the Philippines at Cineteca di – Serge Daney, 1981 Bologna/L’Immagine Ritrovata laboratory, in association with LVN, Cinema Artists Philippines and Mike de Leon. Restoration carte funding provided by Doha Film Institute. blanche POKLON / HOMAGE Calvaire Kalvarija The Ordeal

Fabrice du Welz, Belgija, Francija, Luksemburg / Belgium, France, Luxemburg, 2004, 35mm, 2.35, barvni / colour, 88'

Neslavni pevec in potujoči zabavljač Marc se po nastopu After finishing his gig at a retirement home, traveling v domu upokojencev ponovno odpravi na pot. Kmalu bo singer Marc Stevens heads back on the road. It’s just božič, vreme je strahotno in nato se mu nekje bogu za before Christmas, the weather is terrible and his van hrbtom pokvari še avto. K sreči je blizu zakotna vasica brakes down in the middle of nowhere. Luckily there’s in tamkajšnji gostilničar ga prijazno vzame pod streho. a remote village nearby… Menda mu je pred kratkim izginila žena in zdaj v vasi Sharing the gritty aesthetics and true grit of its ‘70s stanujejo samo še moški. predecessors, du Welz’s feature debut is a brutal, but astute, V enaki meri brutalen in cerebralen celovečerni prvenec unique and distinctly belgique take on survivalist urbanoia. Fabricea du Welza deli čudovito sprano, zrnato estetiko in A »final boy« stranded in the Belgian backwoods. A dark surovi etos svojih navdihov, velikih preživetvenih grozljivk and twisted parable of need and desire. 70. let, od Boormanove Odrešitve in Peckinpahovih Slamnatih psov do Hooperjevega Teksaškega pokola »The cast and crew reads like a veritable rogue’s gallery of z motorko. Toda hkrati podeli klasični »urbanoji« svež in infamous perpetrators of dark, French cinema. Beautifully odločno belgijski priokus. Kalvarija je mračna, bolestna shot on gloriously grainy super 16mm by Benoît Debie in boleča parabola o nuji in poželenju. (cinematographer for Gaspar Noé’s Irreversible), produced by Vincent Tavier (Man Bites Dog screenwriter), with »Celo med filmi z neklasičnimi zapleti Kalvarija daleč a cameo by legendary porn queen Brigitte Lahaie and izstopa kot žanrsko inovativna evropska artsploatacija starring Haute Tension’s Philippe Nahon, (the man whose na temo ameriškega survival horror filma 70. let. /…/ eyes have the power to mercilessly suck you into a vortex Kalvarija dokazuje, da si Francozi (s pomočjo Belgijcev) of unrelenting pain), Calvaire proves that the French (with zaslužijo svoje mesto na čelu krvavega žanra.« the help of the Belgians) earned their place at the forefront – Stuart F. Andrews, Rue Morgue’s 100 Alternative of the horror genre.« Horror Films – Stuart F. Andrews, Rue Morgue’s 100 Alternative Horror Films POKLON / HOMAGE Vinyan

Fabrice du Welz, Francija, Belgija, VB, Avstralija / France, Belgium, UK, Australia, 2008, 35mm, 2.35, barvni / colour, 96'

Zakonca Jeanne in Paul Belhmer sta v uničujočem cunamiju Unable to accept the loss of their son in the 2005 Tsunami, na Tajskem leta 2005 izgubila sina. Ker se ne moreta soočiti Jeanne and Paul Belhmer have remained in Thailand. z otrokovo smrtjo, sta še vedno tam. Jeanne se obupano Desperately clinging to the fact that his body was never oklepa dejstva, da trupla niso nikoli našli. recovered, Jeanne has convinced herself that the boy was V mojstrskem hibridu fantazmagorične nadnaravne kidnapped by traffickers in the chaos that followed the grozljivke in pretresljive psihološke drame o izgubi in catastrophe. žalovanju se nočne more, obsesije in grozovita realnost A traumatized couple embark on a quest that will stapljajo v eno. Vrhunski primerek vselej razdvajajočega plunge them through paranoia and betrayal, ever deeper arthouse horrorja v režiji izvirnega in suverenega into a supernatural realm where the dead are never truly žanrskega auteurja. dead, and where nightmares, obsession and horrifying reality converge. A phantasmagorical, deeply unsettling »Vinyan ni tradicionalen film o duhovih, kjer mrtvi and ominous sophomore feature from a highly original vstopajo v svet živih. Tu so živi tisti, ki vdirajo v svet mrtvih. and intuitive genre auteur. Zahodni par, ki slepo zavrača smrt svojega otroka, sem želel pogrezniti v del sveta, kjer je smrt nadaljevanje življenja. »Vinyan is an Apocalypse Now meets Lord of the Flies Menim, da je z družbo, ki tako trdovratno zavrača staranje and Don’t Look Now descent into hellish jungle populated in smrt, nekaj zelo narobe. Zakonca Behlmers utelešata to by malevolent spirits. /…/ Despite the dominating ghostly družbo.« atmosphere, this is not another Asian ghost-in-the-well – Fabrice du Welz story. /…/ Du Welz gives us an unforgettable descent into the Green Hell, expertly blending real-life horror with »Du Welz nam omogoči nepozaben spust v zeleni pekel, surreal cinematic danger. It will leave you shaken.« medtem ko mojstrsko meša resnično grozo in nadrealistično – Liisa Ladouceur, Rue Morgue’s 100 Alternative Horror Films filmsko grožnjo. Dodobra vas bo pretresel.« – Liisa Ladouceur, Rue Morgue’s 100 Alternative Horror Films Film bo pospremil Master Class pogovor s Fabriceom du Welzom. Followed by a Master Class with Fabrice du Welz. RETROSPEKTIVA / RETROSPECTIVE Creature from the Black Lagoon 3D Pošast iz črne lagune 3D

Jack Arnold, ZDA / USA, 1954, 3D DCP, 1.85, čb / bw, 79'

CENTURIES OF PASSION PENT UP IN HIS SAVAGE HEART! Med ekspedicijo v južnoameriškem pragozdu znanstveniki On an expedition deep in the jungle, scientists led by pod vodstvom riboslovca Davida Reeda v globinah Amazonke ichthyologist David Reed discover a mysterious humanoid odkrijejo misteriozno antropomorfno bitje, manjkajoči člen creature, a living amphibious missing link lurking in the med človekom in ribo. Toda v jetništvu se Škrgamož zaljubi v depths of the Amazon. Captured and imprisoned for scientific Davidovo brhko pomočnico Kay. study, the Gill Man becomes enamoured with David’s Studio Universal je z ikoničnim Škrgamožem vpeljal nov tip assistant Kay. filmske pošasti, popolno mešanico klasičnih monstrumov iz The iconic Gill Man ushered in a new type of monster, tridesetih let in znanstvenofantastičnega booma petdesetih. perfectly blending Universal’s classic monster heritage with Razburljiva podvodna avantura, tragična romanca in the sci-fi explosion of the 1950s. A thrilling underwater čistokrvna creature feature klasika se vrača na platno v adventure. A tragic love story. A true creature-feature classic. izvornem 3D formatu! Presented as it was originally released, in 3D!

»Klasična grozljivka, ki vam ogreje srce, hkrati pa se od smeha »A classic horror that warms the heart and wets the pants. skoraj polulate v hlače. /…/ Ko se prikrade na platno, pošast /…/ The underwater scenes remain definitive, with the curvy ni le filmski dubler v premočenem žaklju s pingpong žogicami Adams floating on the surface and dangling her long white namesto oči, temveč zares impresiven dosežek maske – legs above the Creature’s claws, and the Gill Man performing človečnjak ribjega obraza v luskinasti potapljaški obleki, ki je a serpentine underwater ballet beneath her pin-up form. razvil celo lasten plavalni slog. /…/ Podvodni prizori dolgih, Few 1950s science fiction films bothered with sex, but this snežno belih nog nasladne Julie Adams, ki bingljajo tik nad swimming flirtation remains as classic an image of impossible kremplji Škrgamoža, medtem ko pošast pod to seksi podobo love as King Kong and his tiny blonde.« uprizarja svoj podvodni balet, so še danes izjemni.« – Kim Newman, Empire - Kim Newman, Empire RETROSPEKTIVA / RETROSPECTIVE Phase IV Faza IV

Saul Bass, VB, ZDA / UK, USA, 1974, 16mm, 1.85, barvni / colour, 84'

Ko se začnejo v arizonski puščavi pojavljati nenavadni When strange structures and patterns begin to appear in the vzorci, vlada na samotno raziskovalno postajo odpošlje dva Arizona desert, two lone scientists set up a research station to znanstvenika, da bi odkrila vzrok enigmatičnih pojavov. investigate the origin of these mysterious events. They soon CENTURIES OF PASSION PENT UP IN HIS SAVAGE HEART! Kmalu se izkaže, da so formacije delo visoko razvitih, realize that they are the work of highly evolved ants who hiperinteligentnih mravelj, ki skušajo vzpostaviti stik s seem to be trying to communicate with the human world… človeško raso, s početjem katere niso prav nič zadovoljne. And they are not happy. Saul Bass, sloviti oblikovalec ikoničnih filmskih špic, od The sole feature film by acclaimed graphic designer Saul Premingerjevega Moža z zlato roko do Hitchcockovih Bass is a haunting curiosity and meditative sci-fi experiment, Sever-severozahod, Psiho in Vrtoglavica, nam namesto deserving of its cult status. Rather than offering a cautionary svarilne moralke o človeku v spopadu z naravo ponudi rešitev, tale about mankind vs. the species, Bass envisions a new vizijo naslednje faze v človeški evoluciji. Faza IV je tesnoben, evolutionary phase and proposes we merge. stiliziran in meditativen sci-fi eksperiment. Prava kurioziteta iz zakladnice obskurnih filmskih kultov. »In addition to creating a series of dreamlike montages and singular images, Bass enlisted Ken Middleham to »Bass je ustvaril niz sanjskih, halucinantnih montaž in shoot footage of real ants, creating a sort of animal acting edinstvenih podob, nato pa za posnetke resničnih mravelj verisimilitude that has gone unmatched on film before or angažiral še Kena Middlehama, ki je ustvaril naturalistično since.« živalsko igro, kakršne na filmu ne pomnimo.« – Todd Gilchrist, The Hollywood Reporter – Todd Gilchrist, The Hollywood Reporter »The only feature directed by legendary graphic designer »A bolj kot da gledate film o naravnih pošastih, Saul Bass concerns a colony of hyperintelligent ants intent imate občutek, da jeste nore gobe z gručo skuliranih on taking over the world, but it’s less a creature feature than mirmekologov.« the equivalent of taking mushrooms with a bunch of hip – Sam Adams, Rolling Stone myrmecologists.« – Sam Adams, Rolling Stone RETROSPEKTIVA / RETROSPECTIVE La Bête Zver The Beast midnight movie Walerian Borowczyk, Francija / France, 1975, 35mm, 1.66, barvni / colour, 98'

Premožna ameriška dedinja Lucy Broadhurst prispe v dvorec American heiress Lucy Broadhurst is betrothed to the boorish nekoč ugledne aristokratske družine na francoskem podeželju, son of the scheming Marquis de l’Espérance. But when da bi se poročila z robatim Mathurinom, sinom pohlepnega she arrives at the French chateau, she learns of a dark and in spletkarskega markiza de l’Espérancea. Toda Mathurin ima terrifying legend about a perverse forest creature that prowls mračno skrivnost. In legenda pravi, da se po hodnikih dvorca the corridors of the sprawling mansion. ponoči klati pošastna in perverzna zver. The infamous succès de scandale by the Polish master of Zloglasna mojstrovina filmske »horrotike«, s katero je surrealist animation and the undisputed pinnacle of horrotica vizionar in ikonoklast Walerian Borowczyk »Boro« zapustil jabs its satirical dagger at decadent aristocracy, degenerate ugledno areno poljske nadrealistične animacije ter sedel na clergy and the backlash of sexual repression. Boro’s penchant prestol francoske grozljivo-erotične avantgarde. Razuzdana for fantasy, eroticism and carnal humour is off the leash! kritika lakomne aristokracije, dekadentne duhovščine in usodnih posledic spolne represije. Polnočna pravljica v duhu »Further complicating this loose play on Romeo and mračne evropske tradicije pokaže vse tisto, kar sta brata Juliet, Beauty and the Beast and Little Red Riding Hood Grimm pač morala zamolčati. are numerous bared breasts, a gigantic lupine phallus, truly copious ejaculant and sensually executed bestiality, »Mejnik arthouse in grindhouse filma.« altogether resulting in a sex-crazed and often uproariously – Garrett Chaffin-Quiray, 100 European Horror Films funny freak show masquerading in the guise of a horror movie. /…/ What remains most memorable, however, is »Erotika, seks … to je ena najbolj etičnih plati življenja. the way staid dramatic sequences are punctuated with truly Erotika ne ubija, ne iztreblja, ne podpihuje zla, ne napeljuje sensual events /…/ the reason (aside from naked women k zločinu. Ravno nasprotno, ljudi dela nežnejše, srečnejše, masturbating) that makes Borowczyk’s film a keynote for napolnjuje jih, jih vodi k nesebičnemu užitku.« both arthouse and grindhouse.« – Walerian Borowczyk – Garrett Chaffin-Quiray, 100 European Horror Films RETROSPEKTIVA / RETROSPECTIVE Queen Kong

Monica Stambrini, Italija / Italy, 2016, DCP, 1.85, barvni / colour, 19'

Razočarana nad njegovo nezmožnostjo, da bi dosegel erekcijo, pobegne v gozd. Brezvoljno ji sledi, toda v gozdu ga pričaka Queen Kong. In ne bo ga izpustila, dokler je ne poteši. Monica Stambrini znova oživi in posodobi nekoč živahen žanr filmske horrotike. Queen Kong je ženska različica in popolna sopotnica Borowczykove Zveri.

»Ko sem prvič videl film Queen Kong, sem skoraj omedlel. Zato sem si ga moral ogledati še mnogokrat.« – Bernardo Bertolucci

»Totalno odfukan film.« – James Franco

Disappointed by his inability to get an erection, she disappears into the woods. Listlessly, he follows but finds Queen Kong instead. She has no intention of letting him go until she has had her way with him. Monica Stambrini’s modern-day horrotica, the perfect companion to Borowczyk’s The Beast, takes a woman’s vantage point and turns the manimal into a she-beast. This is a match made in heaven and hell!

»When I saw Queen Kong the first time, I nearly fainted. So I had to see it over and over again.« – Bernardo Bertolucci

»Disturbing as fuck.« – James Franco

Projekcija v prisotnosti režiserke Monice Stambrini. Director Monica Stambrini in attendance. RETROSPEKTIVA / RETROSPECTIVE Long Weekend Dolgi konec tedna

Colin Eggleston, Avstralija / Australia, 1978, 35mm, 2.35, barvni / colour, 96'

THEIR CRIME WAS AGAINST NATURE… NATURE FOUND THEM GUILTY. Da bi rešila svoj zakon, se Peter in Marcia odpravita v Attempting to resurrect their failing marriage, Peter and neokrnjeno avstralsko divjino, kjer naj bi preživela dolg in Marcia set out on a camping trip to a deserted stretch of the idiličen konec tedna. Toda brezobzirna japija na vsakem Australian coastline. They trample through the countryside koraku skrunita naravo. In ko se ta maščuje, se sanjski with callous disregard for the environment. But when the oddih sprevrže v boj za preživetje. animals seek vengeance, an idyllic vacation becomes Ekološka srhljivka o maščevanju zlorabljene narave namesto a battle for survival. šoka stavi na počasi naraščajočo napetost in tesnobni občutek A creepy, slow burning eco-thriller about man’s groze, ki jo vzbuja od sonca razbeljena idila. Zamolčana mistreatment of nature and nature’s well-tuned collective mojstrovina in kultna klasika avstralskega žanrskega booma revenge, Long Weekend is one of the finest examples of 70. in 80. let, čudovito ponorele »ozploatacije«. Australian exploitation. An Ozploitation classic!

»Najizvirnejše prispevke k t. i. ozploataciji je podpisal scenarist »Screenwriter Everett De Roche is one of the unsung heroes Everett De Roche, ki je s filmom Dolgi konec tedna v takrat of ’70s/’80s Ozploitation. /…/ However, while many of the popularen podžanr vnesel ključno novost: revizijo horrorja pictures would prove to be much more commercially minded, v pustolovskih filmih je dosledno in do konca premislil kot none would match the pure paranoia of his sophomore skrivnostno ekološko zgodbo, ki je skoraj brez besed, a je feature writing effort, Long Weekend; a waking nightmare zato vizualno toliko močnejša. /…/ pravično maščevanje on sun bathed down under beaches, during which a couple narave se uresniči kot nekakšna mora v stilu Tarkovskega, is repeatedly castigated by the environment for their karmic iz vse bolj grozečih posnetkov širokega formata in srhljivih foolishness. /…/ It’s an unnerving marriage of 2.35 vistas zvokov divjine.« with creep-inducing sonic design, and should be studied – Christoph Huber, Avstrijski filmski muzej by anybody who ever wants to make a horror film during their lifetime.« – Jacob Knight, Birth. Movies. Death.

ozploitation RETROSPEKTIVA / RETROSPECTIVE Not Quite Hollywood: The Wild, Untold Story of Ozploitation! Ne ravno Hollywood: Divja in zamolčana zgodba o ozploataciji!

Mark Hartley, Avstralija, ZDA / Australia, USA, 2008, 35mm, barvni / colour, 103'

Leta 1971 je represivni primež avstralske cenzure čez noč In 1971, with the introduction of the R-certificate, Australia’s postal sila ohlapen. Sledila je ustvarjalna eksplozija, ki je censorship regime went from repressive to progressive virtually obrodila velike avtorske klasike tipa Piknik pri Hanging overnight. This cultural explosion gave birth to arthouse Rocku Petra Weira. Toda hkrati je spočela leglo drznih classics, such as Picnic at Hanging Rock, but also spawned žanrskih odpadnikov, ki so na velika platna prinesli poprej a group of maverick filmmakers who braved assault from all nezaslišane eksploatacijske bravure, kot so Wake in Fright, quarters to bring films like The Man from Hong Kong, Long Weekend in Mad Max. Avstralski žanrski film Turkey Shoot, Long Weekend and Mad Max to the je ustvaril lastno, unikatno govorico in dodobra prevetril big screen. Free-wheeling sex romps! Blood-soaked terror ustaljene konvencije. Podivjane seksploatacijske burke, od krvi tales! High-octane action extravaganzas! These are the main premočene grozljivke in visokooktanske akcijske ekstravagance ingredients of the first detailed examination and celebration so glavne sestavine Hartleyjevega dokumentarca, prve of Australian genre cinema of the ‘70s and ‘80s. temeljite študije ozploatacijskega booma 70. in 80. let. Jam packed with outrageous anecdotes, lessons in maverick Ne ravno Hollywood, nabito poln neverjetnih anekdot, filmmaking, a smattering of international names and a genuine, nevarnih režijskih lekcij, razvpitih mednarodnih imen (med infectious love of Aussie movies, Not Quite Hollywood is a njimi ne manjka ozploatacijski ultra-fan Tarantino) in iskrene, fast moving journey through an unjustly forgotten cinematic era nalezljive ljubezni do avstralskega filma, je eksplozivna unashamedly packed full of pubes, boobs, tubes… and kung fu. ekskurzija skozi divjo, plodovito in po krivem pozabljeno kinematografsko ero. »Raunchy, lightning-paced, hilariously gonzo documentary.« – Playboy »Polten, svetlobno hiter in neskončno smešen gonzo dokumentarec.« »A feast of mammaries, monsters and bloody mayhem.« – Playboy – Jeannette Catsoulis, New York Times

»Čisto, absolutno, totalno preveč zabaven …« »Way, way, way too much fun…« – Todd Brown, Twitchfilm – Todd Brown, Twitchfilm RETROSPEKTIVA / RETROSPECTIVE Zombi 2 Zombie Flesh Eaters

Lucio Fulci, Italija / Italy, 1979, 35mm, 2.35, barvni / colour, 91'

Iz zbirke From the collection of Centro Sperimentale di Cinematografia/Cineteca Nazionale.

Policisti v newyorškem zalivu preiskujejo zapuščeno jadrnico, On an abandoned boat in the bay of New York City, a ko jih napade mrtvaško bitje in se požene čez palubo. Novinar corpse-like stowaway attacks the investigating policemen Peter West in hčerka izginulega znanstvenika skleneta na and plunges into the murky waters. News reporter Peter West lastno pest razvozlati skrivnost, zato se podata na odročen and the daughter of a missing scientist are left with the task tropski otok, kjer je izbruhnila epidemija živih mrtvecev. of unravelling the mystery. They travel to a remote tropical Kultna zombijada in mejnik splatterja v režiji grande island where the dead walk among the living. maestra Lucia Fulcija prinaša nekaj najbolj nesmrtnih prizorov Grande maestro Fulci’s seminal gorefest takes the zombie žanrske dediščine, kot je podvodni balet zombija in čisto back to its Caribbean cradle and delivers a barrage of splatter pravega morskega psa. To so trenutki, ki jih morate doživeti landmarks: the eye that meets the splinter, the underwater na velikem platnu in 35-mm filmu! ballet between a zombie and a live shark. These are moments to be experienced on the big screen in glorious 35mm! »Lucio je bil precej čudaški. Po eni strani je bil zelo kultiviran in artističen, po drugi umazan potepuh. Film Zombi 2 je »Lucio was a very strange person. Very cultured and artistic posnel praktično za nič. Ne le da si nisem mogel privoščiti on one side, a sleazy bum on the other. Zombi 2 was made maske iz lateksa, nikoli sploh nismo vedeli, kateri statisti se for no money, so not only could I not afford to make latex bodo pojavili, da bi odigrali vloge živih mrtvecev, saj so bili appliances, but we also never knew what extras would be bodisi brezdomski klateži ali brezupni pijanci. Z glino sem available to be the living dead as they were all homeless pač namazal tiste obraze, ki so se pojavili pred mano, in po itinerant or hopeless winos. I just smeared clay on whoever’s srečnem naključju je bil videz kot nalašč za ta film.« face was in front of me and, by accident, it turned out to be – Giannetto De Rossi, mojster maske the perfect look for the film.« – Giannetto De Rossi, makeup artist RETROSPEKTIVA / RETROSPECTIVE Roar Rjovenje

Noel Marshall, ZDA / USA, 1981, 35mm, 2.35, barvni / colour, 102'

NO ANIMALS WERE HARMED IN THE MAKING OF THIS MOVIE. 70 MEMBERS OF THE CAST AND CREW WERE. Znanstvenik Hank (Noel Marshall) je na svoje malo afriško Hank (Noel Marshall) is an energetic scientist, living in the posestvo naselil več kot sto divjih levov, tigrov, gepardov in bush country of East Africa, alongside a menagerie of over 100 še nekaj slonov za povrh. Njihovo sožitje je na videz wild lions, tigers, panthers and an elephant or two. They all live harmonično. Prav tistega dne, ko iz Chicaga pripotuje together in apparent harmony. Until one day, just as his wife Hankova družina (Marshallova resnična soproga Tippi and children (real-life wife Tippi Hedren, step-daughter Melanie Hedren, njena hčerka Melanie Griffith in njegova sinova Griffith and his sons John and Jerry) arrive from Chicago, a battle John in Jerry), pa se med levi razvname boj za prevlado. for dominance erupts between the lions. Rjovenje, »najnevarnejšo filmsko produkcijo vseh It took director Noel Marshall and wife Tippi Hedren 11 years časov«, sta Noel Marshall in Tippi Hedren (Ptiči) snemala and »the most dangerous film shoot in history« to produce dolgih enajst let. A rezultat je brez primere: ponorela Roar, a bonkers mad, sweat-in-your-seat action adventure akcijska pustolovščina, podivjan naravni dokumentarec in where every frame overflows with volatile wild cats. Hitchcock’s najbolj živčen živalski triler, kar ste jih kdaj videli. Pozabite feathered menace was a walk in the park. This is the jungle! Hitchcockovo pernato golazen. Zdaj ste v levjem brlogu! »It’s like Walt Disney went insane and shot a snuff version of »Tako je, kot bi gledali igrano verzijo Levjega kralja, Swiss Family Robinson.« medtem ko vam Mufasa cel film pod vratom drži žiletko.« – HitFlix – Complex »Like watching a live-action Lion King as Mufasa holds a »Najbolj veličastna, neverjetna in epska živalska srhljivka, switchblade to your throat.« kar jih je kdaj bilo. /…/ Igralci so nenehno v življenjski – Complex nevarnosti, medtem ko vse okoli njih ’improvizirajo’ odrasli levi. /…/ Filma, kakršno je Rjovenje, niste še nikoli videli. + predfilm pre-feature short In takšnega filma ne bo nikoli več nihče posnel.« Les Chiens savants Pasje gledališče – Tim League, Birth. Movies. Death. Francija / France, 1909, 35mm, 5' Iz zbirke Avstrijskega filmskega muzeja From the collection of the Austrian Film Museum. KONFERENCA

PETEK 20. 4. / 14.00 – 17.30 / Kinodvor Konferenca kultnega filma Okužba, poguba in prekletstvo! Kultni film v nacionalnem kontekstu

Vstop prost. Predavanja potekajo v angleškem jeziku. En, dva, tri, štiri, okužba Konferenca je odprta za javnost in namenjena vsem zombijev se širi: italijanska ljubiteljem filma, še zlasti kultnega in žanrskega, ter zombi manija filmske dediščine, zgodovine in teorije. Projekt nastaja v sodelovanju z Univerzo Northumbria iz britanskega Dr. Russ Hunter, višji predavatelj filmskih in Newcastla. Več o gostujočih predavateljih na spletni televizijskih študij na Univerzi Northumbria v strani kurjapolt.org. Newcastlu, Velika Britanija

Italijanska filmska industrija ima od nekdaj dva Pojem kultnega filma se na vse pretege izmika obraza, kot Jekyll in Hyde: dežela, ki je obrodila enostavni definiciji. Tako različni in časovno oddaljeni Sladko življenje (La dolce vita, 1960) in Avanturo filmi, kot so The Rocky Horror Picture Show (L’Avventura, 1960), je ustvarila tudi Cannibal (1975), El Topo (1970) in Mamma Mia (2008), so v Ferrox (1981) in razvpiti Zombi 2 (1979). Da tem ali onem trenutku služili kot primeri kulta. Razlike italijansko žanrsko kinematografijo bistveno določa med temami, ki jih obravnavajo – in načini, na katere njen eksploatacijski značaj, je prvi izpostavil kritik, to počno –, lepo ilustrirajo, kako nejasna je narava tega scenarist in režiser Luigi Cozzi. Po njegovih besedah koncepta. Na kaj naj se torej osredotočimo, ko skušamo italijanski producent režiserja nikoli ne vpraša, kakšen definirati to izmuzljivo filmsko zver, imenovano kultni je njegov film, pač pa kateremu filmu je podoben. Za film? Eden od možnih pristopov je, da v kultnem italijansko filmsko industrijo je bil tako značilen njen filmu prepoznamo izraz specifičnih nacionalnih parazitizem, žanrska produkcija pa je v tem okviru oblik filmskega ustvarjanja. Letošnja konferenca navadno izkoriščala popularnost filmov iz drugih bo skozi tri predavanja razprla vpogled v tri skrajno delov sveta. Tako je Lucio Fulci po velikem uspehu različne nacionalne kontekste: italijansko žanrsko Romerove Zore živih mrtvecev (Dawn of the Dead, kinematografijo 70. in zgodnjih 80. let, ki je odločno 1978) v Italiji nemudoma posnel Zombija 2 in spočel stavila na eksploatacijski etos; avstralski žanrski film, nov nacionalni podžanr: italijansko zombijado. Od ki je neločljivo povezan z osupljivo avtohtono pokrajino, tedaj se je italijanski zombi film s svojimi vedri krvi, floro in favno; ter majhno, a skrajno dinamično mednarodnimi igralskimi zasedbami in čezmernimi, in družbenokritično tradicijo belgijske grozljivke. neverjetnimi scenariji že zdavnaj uveljavil kot kultni Konferenco bo povezoval dr. Steve Jones, višji fenomen v mednarodnem merilu. Dr. Russ Hunter bo v predavatelj filmskih študij na Oddelku za sociologijo svojem predavanju začrtal razvoj italijanske zombijade Univerze Northumbria. in pokazal, da so ti filmi, četudi nastali kot izpeljanke drugih, še kako tehtni in občasno tudi politični ter družbenokritični. Peklenska skala: pošastna Dežela nižin na višku žanra? pokrajina avstralske Belgijska grozljivka kot grozljivke nacionalna katarza

Dr. Alexia Kannas, predavateljica medijskih in Prof. Ernest Mathijs, predstojnik Centra za filmske filmskih študij na Univerzi RMIT v Melbournu, Avstralija in medijske študije ter profesor na Univerzi Britanske Kolumbije v Vancouvru, Kanada Zlovešča prvobitna skalovja, srhljiva presahla jezera, orjaški morilski krokodili in poblaznele divje svinje – Pojem groze in grozljivega v Belgiji spremljajo konotacije, vsi so obrazi »pošastne pokrajine«, ki se je uveljavila ki so grozljivkam podelile nelagoden renome. Pogosto kot bistvena značilnost avstralskega horror filma. Po ga otežujejo povezave z resničnimi dogodki, kot je bila kritiškem in komercialnem uspehu kultne klasike Petra afera Dutroux sredi 90. let. Prav tako pogosto – če ne še Weira Piknik pri Hanging Rocku (Picnic at Hanging bolj – ga oblikujejo podobe in pripovedi, ki razkrivajo Rock, 1975) , v kateri med piknikom ob dotični skali bizarne, obskurne in mučne dogodke. Belgijski odnos do skrivnostno izgine skupina dijakinj skupaj z učiteljico, groze se vzpostavlja skozi trenutke prebadanj in prebojev. je pošastna pokrajina postala ponavljajoč se trop Zombični ples v Kalvariji (Calvaire, 2004), prizor na avstralskih grozljivk, saj je zaradi svoje odljudnosti plaži v Krvavih ustnicah (Les lèvres rouges, 1971), in tujosti dejavna narativna sila. Kot pravi avstralski scena v lokalu v filmu Zgodilo se je čisto blizu vas filmski teoretik Mark Ryan, v avstralski grozljivki (Ce st arrivé près de chez vous, 1992). To so trenutki, ki »pokrajina nima zgolj funkcije prostora, kamor je raztrgajo filmsko pripoved, nato pa je nikakor nočejo umeščeno dogajanje, temveč postane pravnomočen zašiti. Prof. Ernest Mathijs je prepričan, da so te točke lik«. Dr. Alexia Kannas bo orisala popularizacijo katarzične in na gledalca (nekako) vplivajo blagodejno. pošastne pokrajine skozi pester nabor avstralskih Skozi predavanje, ki temelji na raziskavi mednarodne grozljivk, od kultnega eko-horrorja Dolgi konec gledalske recepcije filmov Krvave ustnice, Zgodilo se tedna (Long Weekend, 1978) Colina Egglestona do je čisto blizu vas, Kalvarija in peščice drugih belgijskih neo-slasherja Wolf Creek (2005) Grega McLeana in grozljivk, bo ponazoril, zakaj je belgijski horror bolj mokumentarca Lake Mungo (2008) Joela Andersona, brutalen, a tudi bolj humoren in katarzičen od krvavih ter osvetlila kulturni kontekst, ki poraja še zlasti tradicij drugih dežel. potentno napetost med urbanim in ruralnim prostorom v avstralski grozljivki. CONFERENCE FRIDAY 20. 4. / 14.00 – 17.30 / Kinodvor Cult Film Conference Contamination, Ruination and Damnation! Cult Cinema and the Nation

Free admission. Talks will be conducted in English. The One, Two, Three, Four, Five, conference is open to the general public. More about the Once I Caught a Zombie Alive: guest speakers can be found at kurjapolt.org. The Italian Zombie Craze

Dr Russ Hunter, Senior Lecturer in Film and Television Cult cinema is notoriously difficult to define. Films as Studies in the Department of Arts at Northumbria diverse and as far apart in time as The Rocky Horror University in Newcastle, UK Picture Show (1975), El Topo (1970) and Mamma Mia! (2008) have all, at one time or another, been The Italian film industry has always had a Jekyll and embraced as examples of cult. The differences in the Hyde quality: the same country that produced La Dolce subjects these films address – and the ways in which Vita (1960), L’Avventura (1960) and Il Conformista they do so – point to the slippery nature of the concept. (1970) also created Alien 2 Sulla Terra (1980), What does one look for in attempting to pin-down Cannibal Ferrox (1981) and, notoriously, Zombie the wriggling cinematic beast that is cult cinema? Flesh Eaters (1979). Critic, writer and director Luigi One approach is to think about cult as the expression Cozzi famously noted that the Italian genre film industry of particularly national forms of filmmaking. Is there was one that was marked by its exploitation film something about the way different countries approach qualities. In his words, Italian film producers would never genre cinema that means they produce a certain kind of ask what your film was like – they would only ask what cult cinema? Our conference offers three talks that look film is your film like? It was an industry characterised at three very different national contexts: the piggy-back, by its parasitic qualities, with genre cinema usually exploitation led genre cinema of Italy in the 1970s and piggy-backing on the success of films from other parts of early 1980s; the uniquely exaggerated landscapes and the globe. After the success in Italy of George Romero’s flora and fauna of Australia and how its cinema has Dawn of the Dead (1978), Lucio Fulci quickly released responded to the character of ‘the outback’; the small yet Zombie Flesh Eaters and a new national sub-genre extremely dynamic and socially biting horror of Belgium. was born: the Italian zombie film. Marked by its high The Cult Film Conference is presented in collaboration gore content, international casts and often outrageous, with Northumbria University (Newcastle, UK), and credulity-stretching narratives, the Italian zombie film chaired by Dr Steve Jones, Senior Lecturer in the has since become a cult phenomenon in its own right. Department of Social Sciences at Northumbria. This talk traces the development of the zombie film in Italy, arguing that despite their often highly derivative qualities these films were nonetheless important and, at times, even offered socio-political critiques. That Infernal Rock: Australian Low Country, High Horror? Horror Cinema’s Monstrous The Belgian Horror Film as Landscape National Catharsis

Dr Alexia Kannas, Lecturer in Media and Cinema Studies in Prof. Ernest Mathijs, heads the Centre for Cinema and the School of Media and Communication at RMIT University Media Studies at the University of British Columbia in in Melbourne, Australia Vancouver, Canada

Malevolent primordial rock formations, haunted dried-up Belgium’s connotations to horror have given it, and its films, lakes, giant killer crocodiles and feral razorback boars are an uneasy reputation. Often it is complicated by real-life all features of the »monstrous landscape« that has become events, such as the Dutroux affaire of the mid-1990s. But a defining characteristic of Australian horror cinema. After equally often – if not more – it is informed by imagery and the critical and commercial success of Picnic at Hanging storytelling that unearths surreal, obscure, and troubling Rock, Peter Weir’s 1975 cult classic in which a group of instances. Belgium’s connection to horror exists in puncturing Victorian-era schoolgirls and their teacher disappear whilst and punching moments. The zombie dance from Calvaire out on a Valentine’s Day picnic, the monstrous landscape (2004), the beach scene from Daughters of Darkness becomes a recurring trope in Australian horror films, where (1971), the pub scene from Man Bites Dog (1992). They its inhospitable and alien qualities make it a distinctly active tear a narrative apart, and then refuse to stitch it together. narrative force. As Australian horror scholar Mark Ryan writes, This talk insists that this is cathartic and that audiences in Australian horror cinema »the landscape functions not just (somehow) benefit from it. The presentation builds on as a setting for action, but at a character in its own right« research on the international reception of Daughters of (2015). This talk traces the popularisation of the monstrous Darkness, Man Bites Dog, Calvaire and a few other landscape through a diverse range of Australian horror films, Belgian horror films to exemplify how Belgian Horror is including Colin Eggleston’s eco-horror beach film Long nastier but also more funny, and cathartic, than other horror. Weekend (1978), Greg McLean’s 2005 neo-slasher Wolf Creek and Joel Anderson’s ghost mockumentary, Lake Mungo (2008), and considers the cultural context that produces a particular tension between urban and rural space in Australian horror. DELAVNICI / WORKSHOPS Naredi si fanzin How to Make Delavnica izdelave žanrskega fanzina 18. 4. – 22. 4. / Rok za prijave: 5. 4. a Fanzine Brezplačna delavnica izdelave filmskega fanzina je namenjena Genre Film Fanzine Workshop ljubiteljem žanrskega filma, bodočim urednikom, kritikom 18. 4. – 22. 4. / Application deadline: 5. 4. in novinarjem, ljubiteljem oblikovanja, ilustracije, fotografije The free-of-charge workshop is intended for genre buffs, in drugih vizualnih oblik. Udeleženci bodo z mentorskim young budding film thinkers, future editors, critics and vodstvom skozi različne analogne in digitalne prakse journalists, fans of design, illustration, photography and spoznavali dizajn (ilustracija, fotografija, kolaž), različne other forms of visual expression. Under the guidance of a novinarske forme (poročilo, kritika, intervju, komentar) seasoned mentor, participants will explore the basics of in uredniško delo (vsebinska zasnova, koncept, kontekst). graphic design (illustration, collage, photography), various Delavnica vključuje predpriprave in srečanja delavničarske journalistic forms (feature story, interview, reportage, ekipe v času festivala. review) and editorial work, through the use of both Delavnico vodi Nejc Bahor, grafični oblikovalec ter dolgoletni analogue and digital practices. The workshop includes urednik in avtor fanzina PAF. prior preparation and work sessions during the festival. Conducted by Nejc Bahor, graphic designer, editor and author of PAF fanzine.

Shivering Skin, Sharpening Gaze Film Criticism Workshop 18. 4. – 22. 4. / Application deadline: 9. 4. Is your vision getting blurry? Are you feeling apathetic? Have Naježimo dlako, you forgotten what it’s like to shiver with excitement? Then join us for a special film criticism workshop, organized by ostrimo pogled KINO! Film Society for all nature’s creatures aged 18 and above. Delavnica pisanja o filmu We will sharply gaze into the lion’s mouth and stare nature 18. 4. – 22. 4. / Rok za prijave: 9. 4. gone wild boldly in the face. Participants’ daily meetings will Vam peša vid? Ste brezvoljni? Ste pozabili, kako je, ko vas oblije kurja take place in the pleasantly thrilling festival atmosphere at polt? Potem se nam pridružite na prav posebni petdnevni filmsko- the Slovenian Cinematheque. The viewings of selected genre kritiški delavnici, ki jo na festivalu Kurja polt za bitja 18+ organizira treats will be followed by examinations of the specifics and Društvo za širjenje filmske kulture KINO!. Z ostrim pogledom se subversions of genre cinema. Texts will be honed through bomo zazrli v čekane zverjadi in zblazneli naravi naravnost v obraz. discussions with the mentors, who will provide constructive V prostorih Slovenske kinoteke bomo razpravljali o izbranih žanrskih criticism, comments and guidelines. All finished work will be poslasticah ter hkrati brusili jezik in pogled. O festivalskih filmih boste published on Kurja Polt and Ostrenje Pogleda websites. udeleženci zapisali besedila, ob konstruktivni kritiki in smernicah Conducted by Dr. Maja Krajnc, editor-in-chief of KINO! mentoric pa spoznavali specifike in subverzivne prevrate žanrskega magazine, assisted by film critic Petra Meterc. filma. Končni zapisi bodo objavljeni na spletni strani festivala in na spletnem portalu Ostrenje pogleda. Delavnico vodi dr. Maja Krajnc, odg. urednica revije KINO! in izvajalka Kino-katedre za srednješolce v Slovenski kinoteki, asistira pa ji filmska kritičarka Petra Meterc. RAZSTAVA PLAKATOV / POSTER EXHIBITION Iz zbirke: ko From the narava podivja … Collection: Nature na plakatu? Gone Wild… Dvorana Silvana Furlana, Slovenska kinoteka 18. 4. – 31. 5. 2018 On Posters? Že peto leto zapored platno Slovenske kinoteke preplavljajo Silvan Furlan Hall, Slovenian Cinematheque podobe Festivala žanrskega filma Kurja polt in tudi letos 18. 4. – 31. 5. 2018 izkoriščamo to priložnost, da prezračimo Kinotekino zbirko As the images of Kurja Polt festival flood the screen of the filmskih plakatov in iz nje izberemo primerke, za katere smo Slovenian Cinematheque for the fifth year, we have another prepričani, da so vredni pozornosti. Tudi pri tokratni razstavi opportunity to air out our abundant collection of film posters smo se – kot je že utečeno – navezali na nosilno temo and select the ones we believe are worth your attention. This festivala. Letošnje poimenovanje, Ko narava podivja, je na srečo year’s retrospective Nature Gone Wild has enabled us to identify a omogočilo dovolj široko zajetje kandidatov za razstavo, saj smo broad selection of possible candidates, despite the fact that only v naši zbirki našli le en plakat za film, ki je tudi na programu one poster representing a film from the programme selection festivala. Kakšna sreča, da je to prav plakat za Rjovenje (Roar, can be found in our collection. How fortunate we are that it is 1981), in kakšna sreča, da gre za plakatno bizarko, povsem v precisely the poster for Noel Marshall’s 1981 Roar, and how duhu festivala. Izbrali smo ga seveda za naslovni plakat in mu even more fortunate that it is such a bizarre one! Quite in the dodelili mesto v uvodni vitrini. Po pregledu širšega izbora in spirit of Kurja Polt festival. We immediately decided that this strožjem izločanju nominirancev sta se na koncu izoblikovali was to be the central image of our exhibition. After narrowing dve skupini plakatov. V prvi so pristali tisti, kjer je narava down the selection, we divided the posters into two groups. predstavljena kot človekova preteča nasprotnica ali pa kot »divja The first includes works in which nature is either presented as a narava« označuje vse, kar se nevarnega skriva v človeku. Plakate menacing adversary to mankind or represents the »wild nature« v drugi skupini pa družijo bitja, ki na številne izvirne načine that lurks within human beings themselves. The second group ogrožajo filmske like, ki so jim na lastno nesrečo prekrižali pot. features creatures that, in countless original ways, pose a threat Kot vsako leto so v obeh skupinah tudi plakati, ki jih nikoli ne to the film’s characters who were unlucky enough to cross their bomo našli na listah najboljših vseh časov, in tisti, ki jih sicer paths. Like every year, our exhibition also includes posters that nimamo priložnosti razstavljati. Pod okriljem Kurje polti namreč will never be found on the world’s greatest list and those that we najdejo zavetje tudi obstranci, odpadniki, čudaki in faliranci. otherwise never get to showcase. But under the wings of Kurja Polt festival it is precisely these outsiders, misfits, weirdoes and Metka Dariš renegades who find a welcoming embrace. vodja muzejskega oddelka Slovenske kinoteke Metka Dariš Head of the Slovenian Cinematheque’s Museum Department We make films, produce, curate, project, collect, preserve or restore them, and we constitute a chain of skills and practices, linked together by the practice of projecting films in the historic format of cinema – today, in the digital era. We wish to bring to light a critical situation which is, nonetheless, very little debated, and to come together into a compelling force, so that an industry’s choices do not annihilate the possibility of the unique marvel which is the projection of a film print. The website filmprojection21.org is the embodiment of a network comprised around these affinities; it is a repertoire of initiatives, tools and reflections of this order, which permits to those who wish to do so to offer CHARTER their support. OF CINEMATOGRAPHIC As signatories of this charter, we will favor photochemical film projection whenever a PROJECTION projectable print of a historic film is available IN THE 21ST CENTURY or a contemporary film is made in this format. To continue to be able to project films in filmprojection21.org their original format is not a luxury, it is a necessary and logical continuity. It is a unique and incomparable experience, which will also allow filmmakers to continue to create in this medium. Who knows? Perhaps, photochemical film, liberated from the burden of its industrial heft, will live to see a new age, a rebirth linked to its proper specificity, an unforseen and vibrant moment in its long history. Therefore, we will duly announce the projection formats of the films in the programs we organize - and not only in catalogs reserved for professionals. At the least, in the case of photochemical projection we will indicate accordingly in our programs, for it is illusory to think that the audience can learn to distinguish it and acquire a taste for it if the screening format is never specified. By means of this website and beyond, in the face of difficulties that might weaken the resolve of some, we will lead collective actions to encourage the preservation of relevant knowledge and skills, such as the organization of film projection and maintenance training sessions, and the facilitation of tool sharing and print circulation, in order to perpetuate the possibility of cinematographic projection in the 21st century. We make films, produce, curate, project, collect, preserve or restore them, and we constitute a chain of skills and PRODUKCIJA / PRODUCTION KOPRODUKCIJA / COPRODUCTION SOFINANCERJA / FUNDING MEDIJSKA PODPORA / MEDIA SUPPORT practices, linked together by the practice of projecting films in the historic format of cinema – today, in the digital era. We wish to bring to light a critical situation which is, nonetheless, very little debated, and to come together into a compelling force, so that an industry’s choices do not annihilate the possibility of the unique marvel which is the projection of a film print. JAVNI SKLAD REPUBLIKE SLOVENIJE ZA KULTURNE DEJAVNOSTI The website filmprojection21.org is the embodiment of a network comprised around PROGRAMSKI PARTNERJI / PROGRAMME PARTNERS these affinities; it is a repertoire of initiatives, tools and reflections of this order, which permits to those who wish to do so to offer CHARTER their support. OF CINEMATOGRAPHIC As signatories of this charter, we will favor photochemical film projection whenever a PROJECTION projectable print of a historic film is available IN THE 21ST CENTURY PARTNERJI / PARTNERS or a contemporary film is made in this format. To continue to be able to project films in filmprojection21.org their original format is not a luxury, it is a necessary and logical continuity. It is a unique and incomparable experience, which will also allow filmmakers to continue to create in this medium. Who knows? Perhaps, photochemical film, liberated from the burden of its ZAHVALA / THANK YOU industrial heft, will live to see Fabrice du Welz, Monica Stambrini, Mark Hartley, Craig Griffin (The Directors Alice Gay (Wild Bunch), Emmanuelle Zinggeler (Funny Balloons), Laurence a new age, a rebirth linked Group), Russ Hunter & Steve Jones (Northumbria University, Newcastle), Berbon (Tamasa Distribution), Maja Krajnc (KINO!), Ciril Oberstar (Ekran), to its proper specificity, an Ernest Mathijs (University of British Columbia, Vancouver), Alexia Kannas Jelena Ličanin (Radio Študent), Vesna Nisha Dolinar (Namasté), Vasja Golar unforseen and vibrant moment (RMIT University, Melbourne), Thomas Pfeiffer (Kinemathek Hamburg/ & Grega Šmid (Bevog), Niko Bregantič & Marko Jamnik (Tektonik), Goran in its long history. Metropolis Archiv), Laura Argento (Centro Sperimentale di Cinematografia/ Jakovac (Ladjica.si), Petra Arnold (B&B Slamič), Tina Merica (Studio Cepelin), Therefore, we will duly announce Cineteca Nazionale), Carsten Zimmer (Arsenal – Institut für Film und Ana Cimerman & Eni Vidmar, Koen Van Daele, Nina Peče, Tjaša Smrekar, Maja the projection formats of the films in the Videokunst), Claudia Siefen (Österreichisches Filmmuseum), Carmen Accaputo Zrim & ekipa / team Kinodvor, Ivan Nedoh, Kaja Bohorč, Igor Prassel, Varja programs we organize - and not only in catalogs (Cineteca di Bologna), Kristen Merola (The Film Foundation), Danielle Močnik, Metka Dariš & ekipa / team Slovenska kinoteka, Marta Matičič, Domen reserved for professionals. At the least, in the case of photochemical projection we will indicate accordingly in Bertozzo (Umbrella Entertainment), François da Silva, Yarlagadda Shobu & Pal, Nada Žgank, Branko Čeak, Denis Debevec, Maja Lovrenov, Elida Hamzić, our programs, for it is illusory to think that the audience Kishore Kedari (Arka Mediaworks), Terence Choi (Distribution Workshop), Phil Anja Naglič, Mojca Hudolin, Niko Novak, Samo Jurečič, Nejc Bahor, Bojan Bajsič, can learn to distinguish it and acquire a taste for it if the Kennedy (Park Circus), Maria Rita Tuccio (Euro Immobilfin), Esther Devos & Marko Turkuš, Christoph Huber, Jurij Meden & ekipa festivala / festival team. screening format is never specified. By means of this website and beyond, in the face of EKIPA / TEAM IMPRESSUM difficulties that might weaken the resolve of some, we will lead Maša Peče, Petra Radoja, Pia Nikolič, Ondra Maršíček, Tomaž Perme, besedila / texts Maša Peče, Russ Hunter, Ernest Mathijs, collective actions to encourage the preservation of relevant Jan Drozg, Matevž Jerman & Pero. Alexia Kannas, Metka Dariš, Maja Krajnc, Nejc Bahor knowledge and skills, such as the organization of film projection prevod / translation Maja Lovrenov, Maša Peče and maintenance training sessions, and the facilitation of tool jezikovni pregled Mojca Hudolin sharing and print circulation, in order to perpetuate the possibility of cinematographic projection in the 21st century. oblikovanje / design Tomaž Perme, Kinetik tisk / print Collegium Graphicum KINO- SLOGA. RETRO- SEKS. Valentinovo v bivši Slogi!

Domicilna postaja Noči grozljivk Halloween horror maraton in Noči erotičnega filma Kinosloga. Retrosex. Home of the annual Halloween Horror Marathon and Night of cinematic erotica Kinosloga. Retrosex. Kinodvor. Event Cinema. www.kinodvor.org